"There is little doubt […] that Lozakovich is destined for a prodigious career."Bachtrack
Having regularly performed throughout Europe with orchestras including the Orchestre National de France, Orchestre Philharmonique de Radio France, Royal Stockholm Philharmonic, Swedish Radio Symphony Orchestra, Moscow Philharmonic, the National Philharmonic of Russia, Royal Liverpool Philharmonic, Orchestre de la Suisse Romande, Orchestra Sinfonica Nazionale della Rai, Daniel Lozakovich is quickly establishing himself as a highly sought after soloist on the international concert stage. He collaborates with such distinguished conductors as Adam Fischer, Vasily Petrenko, Leonard Slatkin, Vladimir Spivakov, Robin Ticciati as well as Valery Gergiev, whom he maintains a strong artistic partnership with since their first collaboration in 2015. Returning to the Mariinsky Theatre Orchestra on several occasions since, he also recently opened the Münchner Philharmoniker’s festival MPHIL 360°.
Highlights of his 2017/18 season include his much anticipated debut with the Boston Symphony Orchestra under Andris Nelsons in Tanglewood, as well as tours to Japan and Asia with Valery Gergiev and with the hr-Sinfonieorchester under its current music director Andrés Orozco-Estrada. Lozakovich returns to the Royal Stockholm Philharmonic Orchestra with Semyon Bychkov, Orchestre National du Capitole de Toulouse under Tugan Sokhiev, Orchestre Philharmonique de Radio France with Krzysztof Urbanski and the Verbier Festival Chamber Orchestra under the baton of Lahav Shani. He will further appear with such orchestras as Tokyo Metropolitan Symphony Orchestra, Orchester der Komischen Oper Berlin, Gothenburg Symphony Orchestra and in recital at Les Grandes Voix – Les Grands Solistes in Paris, Tonhalle Zürich, Convervatorio G. Verdi Milan as well as at the Verbier Festival.
Daniel Lozakovich regularly appears at many international music festivals, including the Progetto Martha Argerich in Lugano, Carinthischer Sommer in Austria, Sommets musicaux de Gstaad, Moscow Meets Friends, Gergiev Festival Rotterdam, Baltic Sea Festival, White Nights Festival in St Petersburg and the Moscow Easter Festival. He made his chamber music debut at Festival de Pâques - Aix-en-Provence in 2016 with Renaud Capuçon and Khatia Buniatishvili. A keen chamber musician, Daniel Lozakovich enjoys collaborations with such distinguished artists as Emanuel Ax, Ivry Gitlis, Martin Fröst and Maxim Vengerov. Having previously performed together on ARTE TV, Daniel recorded a selection of Bartók’s violin duos with Daniel Hope for Deutsche Grammophon. In June 2016, he signed an exclusive recording contract with the yellow label.
Awarded numerous prizes and accolades including 1st prize at the 2016 Vladimir Spivakov International Violin Competition, both 1st Prize and the “Grand Prix” at the 2012 EMCY International Music Competition, “Ohrid PEARLS”, Macedonia. Daniel Lozakovich is also recipient of the 2015 Manfred Grommek Prize of the Kronberg Academy. Most recently he received the Excelentia Prize, awarded to him under the honorary presidency of Queen Sofia of Spain and “The Young Artist of the Year 2017” award at the Festival of the Nations.
Born in Stockholm in 2001, Daniel Lozakovich took up the violin in 2007 and made his concerto debut with the Moscow Virtuosi Chamber Orchestra under Vladimir Spivakov two years later. Daniel studies at the Karlsruhe University of Music with Professor Josef Rissin, and is mentored by Eduard Wulfson. He is a student at the Collège du Léman in Geneva.
“There is little doubt, at this point in time, that Lozakovich is destined for a prodigious career.”Segal, 12.07.2017
“Lozakovich simply let his playing speak for itself without any of the unnecessary theatrics. He presented a pitch perfect performance […]”Masslive.com, Ken Ross, 10.07.2017
“Sunday afternoon brought […] the debut of the strikingly young Swedish violinist Daniel Lozakovich […] playing Mozart’s Violin Concerto No. 3. He did so with poise, tonal purity, and technique to spare. An encore by Fritz Kreisler gave him the chance for pyrotechnic display that the Mozart does not afford, and he used it to maximum effect.”Boston Globe, Jeremy Eichler, 09.07.2017